A Dramatic Interpretation of the Wild-Monkey Incident

Revenge is a strong word to use. Revenge is the cause of theft, murder and sabotage. Revenge is a primal emotion shared by all human beings. And the key word here is human beings. Other animals in the animal
kingdom can attack for food, or when provoked or to eliminate all intruders or when driven insane by taunting as in the wild monkey incident.

But revenge itself is a human condition. Revenge entails careful and long term planning and use of people and
situations to get the desired result. In Drama, the playwright has the option of choosing the language and the secondary plots in bringing about his protagonist to the point of climax. Most dramatists use actual historical people and therefore their control of who gets killed and who lives depends on the original historical story. But the rest of the story, the leading up to the climax, the interaction, the falling apart after the climactic moment of revenge is all dependent on the playwright's art of writing.

Drama exists to depict the human condition of exacting revenge. Whether in tragedy or comedy, the point that holds all the of the plot, that makes the plot feasible for human audiences is the initiating point of hurt and the subsequent methods of obtaining redress that is, revenge. If the protagonist does not seek revenge, he is a dupe and is not worthy of a dramatic play.

Such a dupe would be Jesus Christ, our Christian God. If He were seen as a dupe, He would have said, Father, Forgive Them. and that would have been the end of His Faith.

But He returned and the Jewish remnant was sent to all the corners of the world .

His pathos and His return makes for the recurring drama at Easter and makes for such personalities as Romans and Greeks alike to re-stage and reenact the most powerful dramatist of all times. The drama reenacted every year on Easter is the most basic form of revenge and drama. The hurt, Jesus is betrayed. The violent surge of the antagonist against the protagonist, the ignomy of carrying one's method of torture and of being nailed. The dramatic, actually very Greek drama requisite, return to avenge only Christians would say, to save, those who perpetrated such vile attacks on an innocent, the total elimination of all the Jews living at the time in the parts known today and probably then as Israel.

There can be no drama without revenge. And there can be no dramatic revenge without a powerful protagonist seeking just retribution on his attackers.